Miniature
1825 (made)
Artist/Maker | |
Place of origin |
Henry Bone often painted enamel copies of portraits of historical figures. Here the sitter and artist of the original oil painting played a significant part in the history of enamelling. King Charles I was the first patron of enamelling in England, while Van Dyck's portraits were much copied by enamellers, including celebrated versions by his contemporary, the Geneva born French enameller Jean Petitot.
In the 17th century, new techniques of painting enamels allowed delicate portraits resembling tiny oil paintings to be created. These enamel miniatures were first fashionable in continental Europe, but were particularly in vogue in Britain from the 1720s to 1760s. Enamel portraits performed a wide variety of functions. They were often given as diplomatic gifts or awarded to recognise official service. Some celebrated historical figures, while others commemorated a marriage, or departed loved one. Sitters often commissioned enamel copies alongside an original portrait in oils, in order to have a more intimate and portable version in a robust material. Enamels could also be set into jewellery or extravagant boxes so that they could be worn or carried. Larger enamels were often displayed in elaborate frames.
Sir Arthur Gilbert and his wife Rosalinde formed one of the world's great decorative art collections, including silver, mosaics, enamelled portrait miniatures and gold boxes. Arthur Gilbert donated his extraordinary collection to Britain in 1996.
In the 17th century, new techniques of painting enamels allowed delicate portraits resembling tiny oil paintings to be created. These enamel miniatures were first fashionable in continental Europe, but were particularly in vogue in Britain from the 1720s to 1760s. Enamel portraits performed a wide variety of functions. They were often given as diplomatic gifts or awarded to recognise official service. Some celebrated historical figures, while others commemorated a marriage, or departed loved one. Sitters often commissioned enamel copies alongside an original portrait in oils, in order to have a more intimate and portable version in a robust material. Enamels could also be set into jewellery or extravagant boxes so that they could be worn or carried. Larger enamels were often displayed in elaborate frames.
Sir Arthur Gilbert and his wife Rosalinde formed one of the world's great decorative art collections, including silver, mosaics, enamelled portrait miniatures and gold boxes. Arthur Gilbert donated his extraordinary collection to Britain in 1996.
Object details
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Object type | |
Parts | This object consists of 2 parts.
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Materials and techniques | Enamel on copper; gilt-gesso, wood and glass |
Brief description | A rectangular enamel miniature in gilt frame of Charles I after Van Dyck. Henry Bone R.A. (1755-1834), London, March 1825. |
Physical description | A rectangular enamel miniature after Van Dyck; a three-quarter length portrait of Charles I in armour, lawn collar and crimson belt, wearing the badge of the Garter, holding a baton, beside a table with his crown and helmet. Inscribed on the counter enamel. A gilt-matt surround with "Enamel HBone. RA" in glazed hinged door frame. All within a foliate and arabesque gilt-gesso wood surround. |
Dimensions |
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Gallery label |
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Credit line | The Rosalinde and Arthur Gilbert Collection on loan to the Victoria and Albert Museum, London |
Object history | Provenance: Christie's, London, lot 26, 25/11/1980. Private collector, England. Bonham's, London, lot 105, 25/11/1998. |
Production | After an original painting by Sir Anthony van Dyck (1599-1641) at Arundel Castle. |
Subjects depicted | |
Summary | Henry Bone often painted enamel copies of portraits of historical figures. Here the sitter and artist of the original oil painting played a significant part in the history of enamelling. King Charles I was the first patron of enamelling in England, while Van Dyck's portraits were much copied by enamellers, including celebrated versions by his contemporary, the Geneva born French enameller Jean Petitot. In the 17th century, new techniques of painting enamels allowed delicate portraits resembling tiny oil paintings to be created. These enamel miniatures were first fashionable in continental Europe, but were particularly in vogue in Britain from the 1720s to 1760s. Enamel portraits performed a wide variety of functions. They were often given as diplomatic gifts or awarded to recognise official service. Some celebrated historical figures, while others commemorated a marriage, or departed loved one. Sitters often commissioned enamel copies alongside an original portrait in oils, in order to have a more intimate and portable version in a robust material. Enamels could also be set into jewellery or extravagant boxes so that they could be worn or carried. Larger enamels were often displayed in elaborate frames. Sir Arthur Gilbert and his wife Rosalinde formed one of the world's great decorative art collections, including silver, mosaics, enamelled portrait miniatures and gold boxes. Arthur Gilbert donated his extraordinary collection to Britain in 1996. |
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Collection | |
Accession number | LOAN:GILBERT.227:1,2-2008 |
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Record created | June 26, 2008 |
Record URL |
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